Page:A Dictionary of Music and Musicians vol 4.djvu/587

BURNEY. {| ! VOL. IV. [ M. ]
 * Motet, 'Exaltabo te Domine.' Palestrina || 191
 * Madrigal, 'Ahi tu mei neghi.' Marenzio || 205
 * Villota alla Napolitana. Perissone Cambio || 214
 * Canzone Villanesche alia Napolitana. Baldassare Donate || 216
 * Madrigal. 'Moro lasso,' Gesualdo, Prince of Venosa || 223
 * Fugue, 'Diffusa est gratia.' Costanzo Porta || 227
 * Balleto, 'Il Bell' humore.' Gastoldi || 231
 * Do. 'L'Innamorato' || 232
 * Monteverdi's New Discords || 235
 * Madrigal, 'Straccia mi pur.' Monteverde || 237
 * Motet, 'Quam pulcra.' Festa || 245
 * Madrigal, 'Madonna, io v'amo.' Do || 246
 * Motet, 'Domine, quid multiplicati.' Goudimel || 267
 * Chanson, 'Bonjour.' Claudin le Jeune || 271
 * Extracts from 'Le Ballet Comique de la Royne.' Baltazarini || 279
 * Noel. Caurroy || 285
 * Madrigal, 'Il bianco e dolce cigno.' Arcadelt || 303
 * Chanson, 'Ta bonne grace.' Cornelius Canis || 309
 * Madrigal, 'Alma Nemus.' Orlando Lasso || 317
 * Do. 'Calami sonum.' Cipriano de Rore || 319
 * Catch and Canons from 'Pammelia' || 349
 * Rounds and Canons || 350
 * Anthem in 8 parts, exercise for an Oxford degree || 351
 * Song, 'Come my Celia.' A. Ferrabosco || 354
 * Whitelocke's Coranto || 378
 * Air in Comus. Henry Lawes || 383
 * Song 'A lover once.' Do || 397
 * 'Sing to the King of Kings.' William Lawes || 405
 * 'Lord, judge my cause.' Do. || 406
 * 'Who trusts in thee.' Do || 406
 * Five Bells Consort. John Jenkin || 411
 * Canon, 'I am so weary.' Thomas Ford || 415
 * Do. 'Lift up your heads.' Simon Ives. || 415
 * Do. 'Non nobis Domine.' Hilton || 416
 * Do. 'Look down, O Lord.' T. Ford || 416
 * Do. 'Hold thy peace' || 416
 * Examples of Blow's crudities || 449
 * Anthem, 'The ways of Zion.' Michael Wise || 455
 * 'Gloria Patri.' Deering || 479
 * Glee, 'Ne'er trouble thyself.' Matthew Locke || 480
 * Three-part song, 'Sweet Tyrannies' by the father of Henry Purcell || 486
 * Chant. Thomas Purcell || 487
 * Canon. Turini || 521
 * Divisions, specimens of. Seracini || 528
 * Fragments of Italian melody from Pallavicini, Cifra, Rovetta, Merula and Facho || 544
 * 'Tinna Nonna,' lullaby. Barbella || 571
 * Aria dal Tasso. Tartini || 572
 * Aria alla Lecese. Leo || 572
 * Whitelocke's Coranto || 378
 * Air in Comus. Henry Lawes || 383
 * Song 'A lover once.' Do || 397
 * 'Sing to the King of Kings.' William Lawes || 405
 * 'Lord, judge my cause.' Do. || 406
 * 'Who trusts in thee.' Do || 406
 * Five Bells Consort. John Jenkin || 411
 * Canon, 'I am so weary.' Thomas Ford || 415
 * Do. 'Lift up your heads.' Simon Ives. || 415
 * Do. 'Non nobis Domine.' Hilton || 416
 * Do. 'Look down, O Lord.' T. Ford || 416
 * Do. 'Hold thy peace' || 416
 * Examples of Blow's crudities || 449
 * Anthem, 'The ways of Zion.' Michael Wise || 455
 * 'Gloria Patri.' Deering || 479
 * Glee, 'Ne'er trouble thyself.' Matthew Locke || 480
 * Three-part song, 'Sweet Tyrannies' by the father of Henry Purcell || 486
 * Chant. Thomas Purcell || 487
 * Canon. Turini || 521
 * Divisions, specimens of. Seracini || 528
 * Fragments of Italian melody from Pallavicini, Cifra, Rovetta, Merula and Facho || 544
 * 'Tinna Nonna,' lullaby. Barbella || 571
 * Aria dal Tasso. Tartini || 572
 * Aria alla Lecese. Leo || 572
 * Examples of Blow's crudities || 449
 * Anthem, 'The ways of Zion.' Michael Wise || 455
 * 'Gloria Patri.' Deering || 479
 * Glee, 'Ne'er trouble thyself.' Matthew Locke || 480
 * Three-part song, 'Sweet Tyrannies' by the father of Henry Purcell || 486
 * Chant. Thomas Purcell || 487
 * Canon. Turini || 521
 * Divisions, specimens of. Seracini || 528
 * Fragments of Italian melody from Pallavicini, Cifra, Rovetta, Merula and Facho || 544
 * 'Tinna Nonna,' lullaby. Barbella || 571
 * Aria dal Tasso. Tartini || 572
 * Aria alla Lecese. Leo || 572
 * Canon. Turini || 521
 * Divisions, specimens of. Seracini || 528
 * Fragments of Italian melody from Pallavicini, Cifra, Rovetta, Merula and Facho || 544
 * 'Tinna Nonna,' lullaby. Barbella || 571
 * Aria dal Tasso. Tartini || 572
 * Aria alla Lecese. Leo || 572
 * 'Tinna Nonna,' lullaby. Barbella || 571
 * Aria dal Tasso. Tartini || 572
 * Aria alla Lecese. Leo || 572
 * Aria alla Lecese. Leo || 572
 * Aria alla Lecese. Leo || 572
 * Licences in Monteverde || 27
 * Fragments of Peri, Caccini, and Monteverde || 31
 * Rec. and Air from Cesti's 'Orontea' || 67
 * Fragment of Cavalli's 'Erismena' || 69
 * Scena from Bontempi's 'Paride' || 71
 * Scene from the first Oratorio. Emilio del Cavaliere || 91
 * Rec. from Mazzochi's 'Tears of Mary Magdalen' || 96
 * Air from Federici's 'Santa Caterina da Siena' || 117
 * Duet from Stradella's 'John the Baptist' || 118
 * Air from Pistocchi's 'Maddalena' || 121
 * Air 'Il mio figlio.' Scarlatti || 121
 * Extract from Vecchi's 'Amfiparnasso' || 127
 * Extract from Caccini || 137
 * Fragments and Air from Cantata by Carissimi || 143
 * Beauties of his cantatas || 147
 * Duet from 'Musurgia.' Kircher || 150
 * Fragments of cantatas and motet by Cesti || 151
 * Fragments of cantatas by Luigi Rossi || 157
 * Air, 'Dolce amor.' Cavalli || 158
 * Fragment of Bandini || 158
 * Specimens of Salvator Rosa || 165
 * Fragments of Bassani || 168
 * Fragments from Scarlatti's Cantatas || 171
 * Divisions by various singers || 216
 * Fragment from Handel's 'Teseo' || 241
 * Divisions by Nicolai and others || 243
 * Air from Ariosti's 'Vespasiano' || 293
 * Divisions by Farinelli || 437
 * Air sung by Farinelli in Broschi's 'Artaxerxes' || 439
 * Divisions (1740 and 1755) || 461
 * }
 * Duet from 'Musurgia.' Kircher || 150
 * Fragments of cantatas and motet by Cesti || 151
 * Fragments of cantatas by Luigi Rossi || 157
 * Air, 'Dolce amor.' Cavalli || 158
 * Fragment of Bandini || 158
 * Specimens of Salvator Rosa || 165
 * Fragments of Bassani || 168
 * Fragments from Scarlatti's Cantatas || 171
 * Divisions by various singers || 216
 * Fragment from Handel's 'Teseo' || 241
 * Divisions by Nicolai and others || 243
 * Air from Ariosti's 'Vespasiano' || 293
 * Divisions by Farinelli || 437
 * Air sung by Farinelli in Broschi's 'Artaxerxes' || 439
 * Divisions (1740 and 1755) || 461
 * }
 * Divisions by various singers || 216
 * Fragment from Handel's 'Teseo' || 241
 * Divisions by Nicolai and others || 243
 * Air from Ariosti's 'Vespasiano' || 293
 * Divisions by Farinelli || 437
 * Air sung by Farinelli in Broschi's 'Artaxerxes' || 439
 * Divisions (1740 and 1755) || 461
 * }
 * Divisions by Farinelli || 437
 * Air sung by Farinelli in Broschi's 'Artaxerxes' || 439
 * Divisions (1740 and 1755) || 461
 * }
 * Divisions (1740 and 1755) || 461
 * }

BUSBY,. Add month of birth, December. In the summer of 1769 he sang at Vauxhall at a salary of ten guineas a week, and about 1786 was elected organist of St. Mary's, Newington. The oratorio called 'The Prophecy' had been written much earlier than 1799; it was a setting of Pope's 'Messiah.' Line 15 of article, for next read had previously. 'Joanna' was produced at Covent Garden in January 1800. To the list of melodramas add 'The Fair Fugitive,' 1803. Line 20, for in April read on May 28. Line 23, for Day read Age. Line 24, for 1786 read 1785.

BUXTEHUDE,. P. 286 a, line 6 from bottom, add a reference to English translation of Spitta's 'Bach,' i. 258 et seq. P. 286 b, l. 22, add reference to the same, i. 263, note 107.

BYFIELD,, organ-builder. [See ../Harris, René, vol. i. p. 692, and ii. p. 596; also ../Byfield, Jordan and Bridge below.[ V. de P. ]

BYFIELD,, junr., organ-builder. Nothing is known of his biography except that he died in 1774. The works of the two Byfields pass current under one head; but Dr. Rimbault is able to quote eighteen instruments (from 1750 to 1771) as made by the younger Byfield. The last six of these were built conjointly with Green. [See, vol. i. p. 624.][ V. de P. ]

BYFIELD, JORDAN & BRIDGE Conjointly. Many new organs were required for the new churches built at the beginning of the 18th century, and many incompetent persons were induced to become organ-builders. To prevent the sad consequences likely to follow, these three eminent artists formed a coalition to build organs at a very moderate charge, amongst which may be cited those of Great Yarmouth Church (1733) and of St. George's Chapel in the same town (1740). [See also each of these names.][ V. de P. ]

BYRD,, is generally said to have been the son of Thomas Byrd, a member of the Chapels Royal of Edward VI. and Mary; but this statement is purely conjectural, the only evidence upon which it rests—viz. that Byrd's second son was named Thomas, as it was supposed, after his grandfather having been disproved by the recent discovery that he was named after his godfather Thomas Tallis. The date (1538) usually given as that of his birth is conjectured from a statement that he was the senior chorister in St. Paul's Cathedral in 1554, when his name was alleged to appear in a petition of the choristers for the restoration of certain benefactions to which they were entitled. This petition cannot be found among the public records of the year, though documents relating to the restoration of the payments in question are in existence, and in these William Byrd's name does not occur, though two other choristers, named John and Simon Byrd, are mentioned. It seems most likely that the composer was a native of Lincoln, where a Henry Byrde, formerly mayor of Newcastle, died on July 13, 1512, and was buried in the Cathedral. According to Anthony à Wood, William Byrd was 'bred up to musick under Thomas Tallis,' but the first authentic fact in his biography is his appointment as organist of Lincoln Cathedral, which took place probably about 1563. He remained at Lincoln for some years, but no trace of his residence there has been found in the Chapter Records, except the appointment of his successor,